Lacquer boxes

While the lacquer box has roots that go back deep in time, the unique Russian tradition has flowered in the twentieth century. Art and craft historians place great emphasis on the influence of the Russian Revolution in making names such as Palekh, Mstiora, Kholui and Fedoskino well known to collector of fine miniature painting. These are the names of small, yet cultually important villages within the "Golden Ring" that surrounds Moscow. In those places there once existed well established traditions or "schools" of icon painting. After 1917, when religious art officially fell "out of fashion" the craftsmen turned their attention to the creation of miniatures with classic secular themes (i.e romantic love, national folklore, folk life and public events). with each village retaining its unique artistic style in the representations.

The wonderful thing about boxes is that they each has a unique personality. While there are some on the market that are decoupage copies of masterworks, most are not mass produced and require individual craftsmanship. Its the talent of the artists that give each personality. No matter what its stylistic tradition, buyers should be certain that any acquisition has the signature of the person that created it.

They may be one of several types. Most common are boxes that have been made of paper mache involving a complicated and time consuming processs of pressing together layers of paper with special resins under great pressure over a long period of time. This technology adds to the value of the box, provides with a certain lightness of weight, and allows the creation of unique shapes, otherwise not easily possible with carved wood. The fabricator then paints layers of black tempera onto this paper box before it is handed over to the miniaturist. When the artist is finished with his work, it must receive careful coats of high quality lacquer to fix the painting and give it its finish.

The most notable characterisic of the Russian box is the styling of the painting, as defined by the tradition of the artists. When we speak of these we talk of Palekh, Fedoskino, Mstiora and Kholui. But how are they distinguished from one another? In general we can say the following:
The box created in the tradition of Palekh is identified by the totally black backgound that frames the painting. The figures are often stylized, elongated and sometimes seem like characatures. The colors are vivid, often within a narrow spectrum of primary hues. The subject matter is often restricted to folklore and scenes of romantic love. Like the icons that the artists replaced, there is a tendancy to restrict the portrayals to tradition-bound subjects. That is to say a masterpiece is regularly recreated (often in the minutist detail) by apprentices, "would-be" or future artists. Be that as it may, each should be marked or signed by the actual painter so as not to create the impression of a mere copy or forgery.

The Mstiora box is fundamentally different in that the miniature sits in a backgound (often) other than black. A sky may be blue; a field brown or green. The figures are less stylized and the subject matter more varied. In fact landscapes, of no significance other than their beauty, made be represented.

Perhaps, the hardest to differentiate is the Kholui box, which has characterisic of both of the former. It is a freer tradition, which permits its representatives a wider range of application. Black backgrounds, more subtle colors, more realisic figures. But for the serious collector and connnessieur, the only way to know a true Kholui box is from the identification provided with the signature of the artist. Perhaps, the hardest to differentiate is the Kholui box, which has characterisic of both of the former. It is a freer tradition, which permits its representatives a wider range of application. Black backgrounds, more subtle colors, more realisic figures. But for the serious collector and connnessieur, the only way to know a true Kholui box is from the identification provided with the signature of the artist. But it is the Fedoskino that captures the widest attention from the broadest audience with its realism, often photographic representations, and use of metallic and mother of pearl, along with traditional oil paints. Subject matter follows this open style, taking all matters for portrayal.